Contemporary Art From Nigeria in the Global Markets : Trending in the Margins

"Jonathan Adeyemis book has arrived at the right time when the attraction for contemporary "African" art has never been so strong in the market and in the world of international contemporary art. It is appropriate to underscore the relevance of the intellectual project of this pioneering work. The book is an important contribution not only to the socio-economic approach of art markets and art worlds in Nigeria, and more widely, in Africa, but also to the socio-economics of art as a whole. It is also an important contribution to what the sociology of "globalization" Bshould be. - Alain Quemin, Exceptional class professor of sociology of art, GEMASS Sorbonne Universite, Senior Member of Institut Universitaire de France "Given the strong interest in art from the African continent, this is an extremely timely book. Adeyemi offers the reader a new and original account of the evolution of a contemporary art world in Nigeria, and the integration of Nigerian art in the global art system, which is fraught with complexities and tensions for which Nigerian artists are facing an uphill battle. Based on interviews with many of the key players in the Nigerian art world, this book should be on the reading list of scholars interested in contemporary art from the African continent." -Olav Velthuis, Professor of Sociology and Director of the Cultural Sociology Program Group, University of Amsterdam, Netherlands This book brings together from four years of study on Nigerian contemporary art's internationalization. The monograph integrates voices of African (Nigerian) artists and art market players into the growing discourse on the emerging art markets in the global South. It explores the logic of competition and dynamics of power relations in the global markets, focusing on the internationalization of contemporary art forms from peripheral regions. The book confirms that the internationalization of contemporary art form from Nigeria is limited due to systematic marginalization in the artistic field, which in this case based on postcolonialism, and debilitating socio-economic factors such as outmoded art education, unstructured support system and weak mechanism for local validation, and an inefficient political framework for art governance. It will therefore be useful to students and researchers in the sociology of art, art market studies, art history and culture polity. Jonathan Adeyemi recently concluded a Ph.D. in Arts Management and Cultural Policy at Queens University Belfast. Acknowledgments 7 Abstract 9 Praise for Contemporary Art from Nigeria in the Global Markets 11 Contents 12 List of Figures 14 List of Tables 18 1: Introduction 19 Globalisation and Contemporary Art from Nigeria 22 Organisation of the Book 24 Methodology 28 Bibliography 30 2: Sub-Saharan Africa in the Global Art Market Structure 32 Introduction 32 Euro-American Hegemony 33 The Big White Boy Narrative 36 Increasing Diversity and the Ascendancy of Asia and Latin America 37 Postcolonial Exclusion 42 Oases in the Desert: Art Market in Sub-Saharan Africa 44 Conclusion 46 Bibliography 46 3: The Development of Contemporary Art in Nigeria 49 Introduction 49 Pioneering Enthusiasm: 1920s–1950s 51 Experimental and Apprenticeship Workshops 54 Revolution and Consolidation of Academic Art: 1950s–1970s 56 Audacious Professionalisation: 1980s–2000s 58 Art Incubation Mechanisms 58 Art Residencies 61 Conclusion 64 Bibliography 66 4: Aesthetic Influences of Cultural Nationalism and Decolonisation 68 Introduction 68 The Generational Influences of Natural Synthesis 69 Aesthetic Trends 75 Duke Asidere: Appropriating the Power of Femininity 77 Tola Wewe: In Dialogue with Ancestral Forms 77 Tayo Adenaike: Synthesising Transcultural Inspirations 79 Abiodun Olaku: Sustaining the Ideals of Classical Naturalism 81 Olu Ajayi: Exploring the Expressiveness of Colour 81 Jonathan Lessor: Subjectively Interpreting Nature 83 Conclusion 85 Bibliography 85 5: Transnational Influences, Authenticity Censure and Postcolonial Exclusion 86 Introduction 86 Conflicted Multiculturalism and Implicit Reinforcement of Western Egotism 89 Japonisme 92 Modern Art and the African Gaze 99 Fluctuating Authenticity 101 Conclusion 103 Bibliography 104 6: Evolution of the Market for Contemporary Art 106 Introduction 106 Merchants and Facilitators 107 The Structuring Influence of Art Auctions 110 ART X Lagos 113 The Tribe of Collectors 116 Money, Taste and Networks 118 Weak Mechanisms for Validation 120 Conclusion 124 Bibliography 125 7: Contemporary Art from Nigeria in International Spaces 128 Introduction 128 Art Fairs 129 Art Auctions 136 Art Biennials 141 Conclusion 150 Bibliography 150 8: Systems of Art Governance 153 Introduction 153 National Council for Arts and Culture (NCAC) 155 The National Gallery of Art (NGA) 156 Unstructured and Inadequate Funding 158 Lack of Physical Structure 159 Apathetic Leadership in Public Institutions 161 Art Gallery Association of Nigeria (AGAN) 166 Visual Arts Society of Nigeria (VASON) 167 Society of Nigerian Artists (sna) 169 Guild of Professional Fine Artists of Nigeria (GFA) 173 The Female Artists Association of Nigeria (FEAAN) 177 China’s Evolution from Socialist Realism to Artistic Globalisation 179 Brazilian Laws of Fiscal Incentives 181 India and Its Transnational Influences 183 Conclusion 187 Bibliography 188 9: Power Dynamics and Alternative Systems 192 Introduction 192 The Impressionists and Abstract Expressionists 193 The Rapid Rise of Njideka Akunyili Crosby 194 El Anatsui’s Journey from Obscurity to the Golden Walls 197 Unorthodox Platforms or Segregation? 199 Supportive Legislative Framework 201 Conclusion 204 Bibliography 205 Bibliography 207 Index 218